The media might be underlining “RaktaCharitra” as his comeback film, but Ram Gopal Varmasays it is going to be the comeback film for the audience. “I didn't go anywhere!” Known forshutting the media up with caustic one-liners,he fieldsa few difficult questions here.
The perception is you took your success for granted, as whenever you have given time to a film, fans have thronged to the theatres…
The maximum time I gave was for ‘Aag' — 150 days! ‘Satya' and ‘Sarkar' were completed in 40 and 37 days.
We are talking about intent…
Many people don't understand that in filmmaking, if you make a fundamental mistake, everything goes wrong; but, you don't realise it till the film is made. When I was making ‘Satya', many people said that nobody would like to watch such dirty people. But, when the film worked, the same people said it was so real that they could actually smell it! Had the film failed, they'd have said, ‘look, we told you'. Media always has the advantage of hindsight.
What was the catalyst for ‘RaktaCharitra'?
The story of Paritala Ravi was the most dramatic I'd ever heard, and I love to make films on people who live at extremes.
And, whytwo parts?
Because of the sheer scale, the number of characters, and the complex relationships. The first part is about the rise of Ravi from a vulnerable youth to the most feared man in the region. The second part sees Ravi from the angle of his adversary. It's like making a film on Gandhi, where the second part looks at him from Godse's point of view.
And, why thedifferent duration for different languages?
In Tamil, three-hour films are normal. There's also the Suriya factor — his fans wouldn't like to wait for him for the second part. For Telugu, it's a local story, and a lot of things could be left unsaid. But for Hindi, it requires a bit of explaining. The screenplay is the same; it is at the editing level that we have made certain changes.
Once you had parted ‘roads' with Vivek Oberoi…?
See, I can go to anybody if I feel he fits the character. And, Vivek's done a good job.
Of late, multi-lingual experiments haven't worked
Language is just a communication tool; it is the content that decides the fate of a film. In the South, films have more energy, they are more connected with the grassroots, but I don't see it as a handicap. When I watched ‘Godfather', I didn't know about the Italian mafia or Italian traditions, but it worked for me.
You screeneda 30-minute show reel in different cities — an unusual promotion strategy
The days of one-minute trailers are passé. I wanted to tell the audience what they should expect from the film.
The distributor at the grassroots could've seen it as a sign of desperation
No. It was a sign of confidence. Even if I show half the film, I expect the audience to return to watch the rest.
The film's punch line says revenge is the purest emotion
Violence doesn't come from nowhere, and if people associate with the cause, if they identify with the emotions of the characters indulging in violence, then the film works. Once the viewer starts believing that had he been put in such a situation, he'd have reacted the same way too, the director succeeds.
And, the social impact?
I don't think any film has a lasting impact. Had that been the case, we'd have been seeing only joint families around us after ‘Hum Apke Hain Kaun'. Or, Gabbar Singhs after ‘Sholay'. If we don't highlight what's happening in rural India in the name of class and caste, I feel we are failing in our duty.
You recently said the film'snot for people who loved ‘Kabhi Khushi Kabhie Gham'.
Exactly! It's not for people who love to watch people waking up and going to bed neat and clean. It is also not for people looking for a hero-heroine-villain film.
You and Karan Johar time your barbs really well. It seems when you write on your blog, you perpetuate an image called RGV.
Right. I don't think anybody portrays one's real self on blogs. You just play on the perception. If you come across a stupid thing, then there are chances it's real!
How do you see the trend of realistic plots finding acceptance at the box-office?
A ‘Dabangg' bunks all trends for a few years. Now, when a director goes to a producer with a ‘story', the producer will ask where the story in ‘Dabangg' was. But, I liked the director's honest approach. His promos never claimed to offer something meaningful. This is better than films such as ‘Lamhaa', where the director seem confused between making an entertainer and raising a serious issue such as Kashmir.
What's next?
I am working on ‘Department', which is about the working of police force.
